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ryanmeft · 5 years

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If Beale Street Could Talk Movie Review

After I saw If Beale Street Could Talk, I finally got around to reading some James Baldwin. As I write this, I’m immersed in a book collecting several of his works, which mostly deal with ordinary life. There’s not much in the way of melodrama in Barry Jenkins’s adaptation of his novel. There is a man behind bars for a crime he didn’t commit, his fiance who is pregnant, their families who must try to free him, the woman he is said to have raped, the racist and ignorant white cop. Not a bit of this is the stuff of potboilers; there is no thought of histrionics, and even when the jailed man cries, he tries to hold it in. This is just the life of African Americans in 1974, and tears will avail him not.

The man, Fonny, is played by Stephan James and the woman, Tish, by KiKi Layne, and each character is a study in the contortions anyone who is discriminated against must endure simply to live. The couple has trouble finding housing, with landlords citing imaginary deficiencies in the very souls of black people. They are eventually rented an under construction loft by a Jewish man (Dave Franco) who respects love wherever it is found, and they seem enthusiastic about this, because they are. If the world will not offer them a place, after all, they might as well make one. High drama could never capture the subtle emotions at play when Fonny and their new landlord pantomime moving their belongings into their future home. The film is told in a non-linear structure, so we already know that Fonny is in prison. He drew the attention of a white cop (Ed Skrein, who can play a side of beef but does not here) when he forcefully stopped a man from harassing Tish, in another one of those terrible moments where a black man is supposed to stand by and let a white one do whatever he wants or be arrested. He is defended by a white shop owner, but the cop later makes a point to coerce his identity out of a rape victim, even though the evidence doesn’t add up.

Now look at how Jenkins handles these things. Eventually, the victim (Emily Rios) is tracked down in Puerto Rico, and not at any point does she outright say that her identification of Fonny was coerced. She does not have to. It is in the look in her eyes, the set of her shoulders, the unspoken reason she went to Puerto Rico in the first place. Do we hurt for her because she was assaulted, be angry at her because she is willing to punish an innocent man to spare herself pain, or a mixture of both? This ambiguity is also present in Tish and Fonny’s attempts to get him freed. They know the truth: that they cannot prove his innocence because the white officer will be believed regardless of the facts. They cannot speak it, and when one of them does they instantly regret it. Why even state the inevitable? To crush all hope?

On most levels the film is about two ordinary people living under an extraordinary system. For the system is extraordinary in the truest sense of the word: a remarkably efficient and successful engine geared toward the single goal of punishing human beings for being black. On another level it is about that system and the entire plight of a race. This other level is handled with what seems like Baldwin’s own words, put into the thoughts of Tish as she reflects on their situation. Unlike Spike Lee’s BlackkKlansman, which broke into scenes of beatings and injustices with the invoked fury of a sun, Jenkins and Baldwin’s interjections are languid, even calming, a sure and simple reminder that the world is unjust and that it will take a long time, and a long fight, until it is not. Go Tell It On The Mountain, the Baldwin book I am reading, is less concerned with the big picture than with the small, personal details. Perhaps it is because he knew that is how big pictures are made.

Witness the scene in which a divided family comes together for the revealing of Tish’s pregnancy. Her mother (Regina King) is her rock, solid and steady, while her sister (Teyonah Parris) is her champion, fiery and fighting. Her father (Colman Domingo) is less sure how to react, and fearful of what his daughter faces as a single black mother in New York in the 70’s, but it is fear borne of love. Fonny’s mother (Aunjanue Ellis) is another case, a religious fanatic both hateful and self-hating, one of those people who uses God to appear holier to others while playing at false humility. Yes, I realize her character can be seen other ways, but no, I do not feel I’m being unfair. Just because a person is themselves hurting does not mean they are worthy of compassion, and it takes a monster to condemn an unborn child which has no say in coming. The scene of the two families meeting can make blood boil, and yet it does not feel forced, for as we know there are such people in the world. She causes so much harm with words, and is ready to cause far more to prove her righteousness, that when her ex-husband (Michael Beach) finally rises and slaps her, it’s impossible to feel she hadn’t earned it. It’s a small but daring role on Ellis’s part. When a character’s entire job is to be hated in an unrealistic, movie-screen manner, we get over it quickly, but Ellis’s job is to play a perfectly realistic terrible person. That there is no screenwriter’s resolution to this---that we must assume this woman remains her terrible self, for we do not see her again---fits with the movie’s message that justice is far from certain. Other family moments, such as Tish’s parents dancing in front of a mirror or the two fathers discussing their roles over drinks, are not there to advance the plot, but just to show us a family being a family.

The film is not backed so much as carried gently along in a masterful, haunting score by Nicholas Britell; the hypnotic theme “Eden (Harlem)”, a loaded title, and the track “Agape” were heavily featured in trailers. The camera of James Laxton, who has worked on all three of Jenkins’ films, paints Harlem in earthy, fall colors, a soft contrast to the racism that plagues the city and the solid, imposing prison glass between Tish and Fonny. Witness his work in the scene of the family meeting, and as the vile stepmother is being led out. The way he frames expressions has been a key component of every film I’ve seen of his, and is vital frequently throughout this picture.

In the rush by white people to gain liberal points for praising black cinema, attention is almost always laser focused on popular entertainment---action films like Black Panther, horror films like Get Out, things anyone can find at the local multiplex and which do not require long thought. It is considerably more difficult, and therefore rewarding, to appreciate a movie like Beale Steet, which does not condense its message into simple talking points. I suspect it will quickly be ignored in the discussion, just as Moonlight’s existence is ignored by those who wish to push a certain narrative, and just as Fruitvale Station is ignored by the same people who make a big show of loving Coogler’s more populist Marvel film. This isn’t exclusive to black cinema: movies that take their time and do not cater will never be as popular as those that do. It’s a shame. Beale Street is a film we need right now, a gentle yet somehow pointed reminder that in every game of oppression, most are unwilling players, and simply want to live quiet, happy lives with their families. That the film almost trails off rather than stamping punctuation on the end is truer, and braver, than any grand speech could ever be.

Verdict: Must-See

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

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mortallycoralluminary · 3 years

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Mike Tyson returns to boxing at 54 on Saturday looking and sounding different

Mike Tyson was in the passenger seat of a black Cadillac Escalade one recent morning, making the 45-mile drive from his home in Southern California to Tyson Ranch, a cannabis company he founded a few years ago.

“I could always use a buck like everybody else can,’’ Tyson told USA TODAY Sports during a phone interview. “This is so much bigger than that.’’

What this is: Tyson, the erstwhile "Baddest Man On The Planet," getting back into the boxing ring at the age of 54.

He is scheduled to fight Roy Jones Jr. in an eight-round exhibition match Saturday night at Staples Center in Los Angeles — more than 15 years after Tyson’s last, inglorious fight. On June 11, 2005, he quit before the start of the seventh round against journeyman Kevin McBride.

“My last fight, I didn’t want nothing to do with that stuff,’’ Tyson said. “I have so much more desire than my last fight."

So what is fueling Tyson’s desire now?

MIKE MOMENTS: 10 victories that helped define Mike Tyson

5 QUESTIONS: For Saturday's Mike Tyson-Roy Jones Jr. fight

“I look at it like I’ve got to test myself,’’ Tyson said. “Isn’t that weird? Why do I have to test myself and constantly push myself?"

Or is it that Tyson, who after the loss to McBride said, "I'm just fighting to pay my bills,'' still needs a buck after making an estimated $685 million in his career?

But there may be a deeper meaning than money, according to Tyson.

“Why am I who I am, and why do I react the way that I do?’’ he asked. “Why do I think? Why am I on the phone with you saying what I’m saying right now? What is causing me to say that? What’s causing me to breathe? What’s causing me to want to survive?’’

Tyson explained he is “doing research on myself’’ in his search for answers in a life full of whys.

Like, why did Tyson, who has struggled with addiction for more than two decades, stop using cocaine less than three years ago?

“I don’t use the word amazing too much, but it was really something,’’ he said. "No cocaine, no marijuana, nothing."

And why, after Tyson had a boxing ring built at Tyson Ranch, did he often work out three times a day, up to six days a week, during a sixth-month period leading up to his fight Saturday night?

In part, Tyson suggested, because the intense training has given him a high he can’t get from cocaine, marijuana or any other drug. But he is not doing this for free.

How the fight came together

Azim Spicer, Tyson’s brother-in-law and business partner, said he got a call this spring from Bob Sapp, a 6-5, 329-pound fighter best known as a kickboxer and MMA fighter.

Sapp said he wanted to fight Tyson in an exhibition match and that Tyson would be guaranteed a multimillion-dollar payday, according to Spicer.

“At first I just thought he was nuts and didn’t really take it too seriously,’’ Spicer said. “But these guys kept calling and calling me with some other guys overseas. Had a lot of money and just a bunch of money on the table, and so I reached out to Mike.

“I thought I had to tell him at this point, because if it was me and that money was available, honestly I would want to know regardless of what I had to do for it. So I told Mike, and Mike said, ‘I’m not fighting again.’

“So then Mike called me back five minutes later and was like, ‘How much were they offering?’ ”

About $20 million, Spicer said.

“Then he called me back maybe 10 minutes later and said, ‘And who do they want me to fight?' And I told him Bob Sapp. And he started laughing hysterically."

Sapp, 47, has a combined fight record of 24-39-1. He also has worked as a professional wrestler and actor. But Spicer said Sapp’s people failed to deliver on promises, and so the fight was off – but the idea of a Tyson comeback was gaining momentum.

Through a business partner, Spicer said, they got connected with Sophie Watts, a media executive from London who has worked with the likes of Elton John, Beyonce, Madonna, U2, Paul McCartney and Mariah Carey.

Watts agreed to be the financier, and the search for someone to fight Tyson continued.

They reached out to Evander Holyfield, according to Spicer. During their fight in 1997, Tyson infamously bit off a piece of Holyfield’s ear and this would be a chance to pit them in the ring together for the first time since then.

“We tried the Evander thing but unfortunately we just couldn’t get a deal done," Spicer said.

Next up was Tyson Fury, the two-time heavyweight champion. Spicer said talks got leaked to Top Rank, Bob Arum’s boxing promotion company, and Arum wanted to be part of the deal. Which meant no deal, Spicer said.

About that same time, according to Spicer, he got a call from Roy Jones Jr., who at the peak of his career was considered the best pound-for-pound fighter in boxing. Now 51, he had fought professionally as recently as 2018 as a cruiserweight.

Jones heard Tyson was interested in an exhibition fight and wanted to know if it was true, according to Spicer, who arranged a phone call between the two fighters.

After that conversation, and with the blessing of the California State Athletic Commission, the fight was on. With a twist.

A league for legends

Tyson and Watts, the financier, came up with an idea: The Legends Only League, which would stage events featuring retired superstars such as Tyson who would participate in pay-per-view events. Tyson’s fight with Jones would launch the enterprise.

In explaining the league’s genesis, Tyson said he was watching a TV program about Jerry Rice, the Hall of Fame wide receiver. Tyson said he learned from the program that Rice couldn't find a job in the NFL after the 2004 season with the Seattle Seahawks because he had lost some of his speed.

“They said just because he’s a few seconds off, he can’t play no more,’’ Tyson said. “And I feel like, ‘Are you crazy? He’s a few seconds away from his world-class speed and he can’t play anymore?’

“I’ll bet you right now there’s more people that would like to see him at wide receiver than to see the guys that’s the wide receiver now for the (Seahawks)."

The idea behind the Legends Only League is to create a platform for Rice and other retired superstars who, like Tyson, want to climb into the ring again – at least metaphorically.

“Imagine a one-on-one game with Dennis Rodman and Man of Peace,’’ he said, referring to Metta World Peace, who won an NBA championship ring with the Los Angeles Lakers in 2010 and now goes by the name Metta Sandiford-Artest. “Imagine those two awesome athletes, those guys playing a game of 21. Who do you think will watch that?

“Can you imagine John McEnroe playing Serena (Williams) or her sister (Venus Williams)? Holy moly!"

Watts, who is partnering with Tyson, declined to identify other athletes they have spoken to, but she said the Legends Only League has four events scheduled for 2021 and plans to hold six events in 2022 and six more in 2023.

“This is a league for champions to come together and have a story about their life on screen as a special one-off,’’ Watts said.

But Tyson isn’t necessarily one-and-done.

'I hate being happy'As his fight against Jones approached, Tyson indulged discussion about whom he might fight next. He said he’d be interested in fighting the top contemporary heavyweights, such as Fury, Anthony Joshua and Deontay Wilder.

But he said it's unlikely those fighters would agree to an exhibition match unless they set aside the priority of maximizing their earning potential. It's unclear how much Tyson and Jones will make, but probably far less than the top heavyweights would generate fighting each other or other boxers in their prime.

“Sometimes in your life you're going to have to face your maker,’’ Tyson said. “Not from dying, but just being conscious of him. Does that make any sense? The consciousness of him should make you want to do that (charitable act).

“What am I really going to do with so much (money)? I’m closer to God than I am to being a billionaire, something like that. What am I going to do when I meet God? What am I going to tell him?’’

Tyson and Jones are not giving away their fight.

The pay-per-view fee is $49.99. And the fight has led to business deals.

On Nov. 17, GameOn Technology announced a partnership with Tyson to for the Mike Tyson Bot, an interactive feature with Tyson-related content on Facebook Messenger.

And on Monday, Smart Cups, a company that makes the “first printed beverage," signed on to become the title sponsor of “Hotboxin’ with Mike Tyson,’’ his podcast.

But Tyson knows that no amount of money can give him peace of mind – something that eluded him for many years. Now he has a new problem.

“I hate being happy,’’ he said. “I’m happy all the (expletive) time.’’

'A great burning desire'Tysonreflected on his growth since he was a troubled kid growing up in Brooklyn and then at 19 became the youngest heavyweight champion inhistory.

Told people were terrified of him back then, Tyson replied, “I was afraid of me too. No, really. How do you think that feels?"

Now he is far more beloved than feared, highly engaging and approachable, yet still required by law to register as a sex offender. In 1992, he was convicted of rape and served almost three years in prison.

Today his top executive assistant is one of his former cellmates, David Barnes.

Tyson is married to Lakiha “Kiki” Spicer, his third wife, and they have two children – a 12-year-old daughter, Milan, and a 9-year-old son, Morocco. The family splits time between Newport Beach and Henderson, Nevada, outside of Las Vegas.

“I’m just at peace with conducting my responsibilities with my family," said Tyson, who has other children from previous relationships. “This is something that I never did. This is what, 11 years married? Can you believe that?

“I can’t live with me for 11 years. How can anyone else live with me for 11 years?"

For his upcoming fight, Tyson has brought in Billy White, who, like Tyson, grew up under the tutelage of Cus D’Amato, the late trainer credited with rescuing Tyson from the streets of Brooklyn.

White, who has been helping oversee Tyson’s training, said in the spring he got a call from Tyson, who disclosed his plans for a comeback.

“At the same time, we said in unison, ‘Cus said age is nothing but a number,’ " White recalled. “We said it together on the phone. So that was pretty cool that we said it unison."

White said he has relished watching Tyson train and noted that Tyson has been waking up between 3 and 4 a.m. most days to run.

“Old school, just like he used to,’’ White said. “It’s a great burning desire in him once again.

“It’s amazing to see. It’s beautiful, you know?"

#usa #tags

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